I am writing in haste today as in a few minutes I am off at a technology conference – the annual Microsoft Future Decoded event, held out in the old Docklands area. Last year this was well worth going to, for both the scheduled presentations and the informal chats at booths and stalls. As usual, my main interest is in AI, and there’s a fair bit on offer. No doubt I shall relate anything of wider interest in the coming weeks.
So the main content today is to draw attention to The Review, and my particular review there of Theresa Tomlinson’s Queen of a Distant Hive. It’s set in 7th century Britain, when the land was still divided into several different kingdoms coexisting in uneasy truce. The novel is a sequel to A Swarming of Bees, and involves some overlap of characters, but it can be read separately. I thoroughly enjoyed this book (well, both books) as you can discover by reading the review. Moreover, Theresa is providing a copy as giveaway prize, and all you have to do to enter, is to leave a comment at The Review blog page or the linked Facebook page.
This week’s blog is a collection of bits and pieces.
First, there’s a reminder that at the Before the Second Sleep blog alongside the review of Half Sick of Shadows there’s a giveaway copy to be won – just leave a comment to be in with a chance in the draw, which will take place sometime in November.
Secondly, for a bit of fun here is the link to the Desert Island Books chat which appeared on Prue Batten’s blog. What ten books would you take if you were going to be stranded on a desert island for a period of time. Well, you can find out my choices at that link – it’s a right mixture of fiction and non-fiction. And I got to pick my very own desert island, and with a minor stretch of credulity I selected Bryher, one of the Isles of Scilly. There are a lot worse places that you could get stranded…
What about space news?
Well, there have been recent updates to two of my favourite NASA missions. The future of Dawn, which has been orbiting the asteroid Ceres for some time, after originally studying Vesta, has been in question for some time. Basically there were two choices – leave the craft in orbit around Ceres until the onboard fuel supply runs out, or move on to a third destination and learn something there. Either way, the plan for the end of life has always been to avoid accidentally contaminating Ceres or anywhere else with debris. Well, the decision was finally made to stay at Ceres, carry out some manoeuvres to increase the scientific and visual return over the next few months, and then shift to a parking orbit late next year. The low point of the orbit should be only about 120 miles from the surface, half the height of the previous approach.
And finally, New Horizons, which provided great pictures of Pluto and Charon a couple of years ago, has been woken from its standby mode in order to carry out early preparations for a planned encounter in the Kuiper Belt. The target this time goes by the catchy name of 2014 MU69. Pluto is on the inside edge of the Kuiper Belt, whereas 2014 MU69 is in the middle. But although there are a fair n umber of bits of rock scattered in this disk-like region, it is still vastly empty, and the chances of New Horizons colliding with a previously unknown body are very slim. If all goes according to plan, the craft will navigate rather closer to 2014 MU69 than it did to Pluto – a necessary action, as the light levels are considerably lower. Since we know very little about the body, this does present a level of risk, but one which is considered worth taking. There are a few course corrections planned for late this year, then it’s back into sleep mode for a few months until the middle of next year. Flyby should happen on January 1st, 2019. And after that? More targets are being explored, and the power supply and onboard systems are reckoned to have another twenty years of life, so we could be in for more treats…
So, picking up the story where l left off two weeks ago, it’s time today to look at science fiction set in the near future from its author. Last time the focus was mainly on stories set hundreds of years in the future, where the problem is often that the technology seems pitched at too low a level. But there are different pitfalls with telling a tale in the next couple of generations. Here, an author may well assume that all kinds of things will happen quickly, when in fact they take much longer.
Flying cars are a stock image for a lot of stories, including Back to the Future and Bladerunner. Now, cars have changed in lots of ways over the span of my lifetime, but they don’t fly (and we still don’t have hoverboards). Yes, periodically there are optimistic announcements that they’re in development, but they certainly aren’t normal consumer items. The future bits of Back to the Future are set in 2015, and the original Bladerunner in 2019, so both are very contemporary.
Likewise, lots of science fiction authors assumed that we would have a moon base well before now, and that manned space missions would have visited other places in the solar system. One of my favourite books, Encounter with Tiber, written in 1996, thought it credible we would have a lunar base by around 2020. Space 1999 and the TV series UFO were even more optimistic. The prominence of the ISS, orbiting a mere two or three hundred miles from the Earth, was not often imagined, nor the enormous success of unmanned exploratory probes. Missions like Dawn, to the asteroid belt, or New Horizons, to Pluto and beyond, don’t feature. Still less the Hubble space telescope, or the LIDO gravity wave detector, which spectacularly hit the news this week.
Social change seems profoundly hard to predict. Orwell’s 1984 still has the capacity to grip us with its stark picture of state control, but actually its vision of the future is wrong in all kinds of ways. A great many authors assumed – with good reason – that a third world war would take place in the 20th century. EE (Doc) Smith’s Triplanetary simply had “19–?” as the setting for an atomic missile war, following after “1918” and “1941”. Do Androids Dream of Electric Sheep (the short story behind Bladerunner) presupposes a war and heavy resulting pollution behind the drive to spread to other planets, and the construction of android replicants as labourers.
But all of these stories remain worth reading. We often judge the value of a story more for its human drama, and its ability to convincingly present a human response to crisis, than for the accuracy of its timeline. That is as it should be, I think.
I sometimes read criticisms of fiction which focus on the correctness or otherwise of minute details in the text, and sometimes they miss the point. Most of us don’t know the exact terminology of the parts of modern American handguns, and most of us wouldn’t know if the wrong word was used – yes, I read a scathing comment from one reviewer on just this subject a while back. But if the story holds up, most of us don’t mind. Then there’s my own area of expertise – programming. I find it hilarious when expert coders are depicted in films as hammering out on a keyboard at lightning rate without looking at either their hands or the screen. We just don’t work like that. A great deal of time is actually spent in copy-and-paste from geeky sites like StackOverflow (followed by a fair amount of careful reconfiguration). But if the story’s good, I’ll happily overlook that.
There’s certainly a place for research, and good research, in any area of fiction, but not pursued, surely, at the cost of the story and all of its other dimensions alongside the factual ones. So yes – science fiction stories set in the near future often do get things wrong, but often that doesn’t really matter.
I was going to do part two of Left Behind by Events, but when this review came out on the Before the Second Sleep blog, plans changed. You will guess when you read it that I was very happy about this – not just the review itself, but the way it brought out comparisons and associated thoughts. I’m going to quote extracts from the review here… for the full thing you’ll have to follow the link.
And if you do, there’s a bonus – leave a comment at the linked blog (not this one) and your name will go into a hat for a free giveaway copy of the book.
Contemporary author Richard Abbott takes this one step further by incorporating his own already popular literary bents—historical and science fiction—into a highly accessible re-interpretation of Tennyson’s masterpiece, itself based on the life of Elaine of Astolat, a tragic figure within the Arthurian catalogue. Written in prose and sectioned off a few more times than “The Lady of Shalott,” Abbott’s Half Sick of Shadows takes us into a world of beauty and cruelty, loving and longing, a world of isolation in which the Lady yearns for her own voice and must choose which sacrifice to perform.
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The metamorphosis of this re-telling gifts readers the feeling that they are receiving the Lady’s story for the very first time. For those familiar with Abbott’s previous work, the historical may be an expected element, but the speculative angle is a definitive bonus, and done with a subtly that enhances rather than reduces the Arthurian and historical within Tennyson’s version. There is a machination about the mirror, in its gathering of data as the Lady sleeps between instars, or growth states, and during her acquisition of knowledge, and periodically we hear a word or phrase (e.g. gibbous) that injects the story with a small flavor of the author’s previous forays into a galactical colony.
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For me, this speaks volumes about Abbott’s ability to transition from genre to genre: he clearly is comfortable writing in a variety, and with Half Sick of Shadows we see this taken to another level as he combines it into one: history, mythology, fantasy and speculative. Perhaps some might even add mystery and/or romance, for the Lady catches a glimpse of Lancelot in her mirror, and from then on everything she acts upon, whether in pragmatic caution or foolish abandon, is in response to the spell she knows she is under, a magic that will destroy her should she try to look directly at the world outside. The manner in which Abbott expands upon the Lady’s life and events within, simultaneously breaking ground while remaining true to Tennyson as he retains the spiritual within the legends of Camelot, is inspiring and captivating. The imagery and descriptive language is economic yet rich.
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Whether re-visiting or new to the legend, readers will cherish Abbott’s novella, an original and enthralling re-telling suitable to current sensibilities, with a blend of Victorian sensory and critical, and the Modernist aim to further pique cultural curiosity. It is a merger in which Abbott splendidly succeeds.
This is the first part of two, in which I look at the ways in which books show their age.
I read a lot of science fiction, and I watch a fair number of science fiction films and TV series. The latest addition is Star Trek Discovery, the latest offering in that very-long-running universe. For those who don’t know, it’s set in a time frame a few years before the original series (the one with Captain Kirk), and well after the series just called Enterprise.
Inevitably the new series has had a mixed reception, but I have enjoyed the first couple of episodes. But the thing I wanted to write about today was not the storyline, or the characters, but the presentation of technology. The bridge of the starship Shenzhou looked just like you’d imagine – lots of touch screen consoles, big displays showing not just some sensor data but also some interpretive stuff so you could make sense of it. And so on. It looked great – recognisable to us 21st century folk used to our own touch screen phones and the like, but futuristic enough that you knew you couldn’t just buy it all from Maplin.
But herein lies the problem. Look back at an old episode of the original series, and the Enterprise bridge looks really naff! I dare say that back in the 1960s it also gave the impression of “this is cool future stuff”, but it certainly doesn’t look as though it’s another decade or so on from the technological world of Discovery.
Basically, our ability to build cool gadgets has vastly outstripped the imagination of authors and film makers. Just about any old science fiction book suffers from this. You find computers on board spaceships which can think, carry out prodigiously complex calculations, and so on, but output their results on reams of printed paper. Once you start looking, you can find all manner of things like this.
Now, on one level this doesn’t matter at all. The story is the main thing, and most of us can put up with little failures of imagination about just how quickly actual invention and design would displace what seemed to be far-fetched ideas. On the whole we can forgive individual stories for their foibles. If it’s a good story, we don’t mind the punched-card inputs, paper-tape outputs, and so on. We accept that in the spirit that the author intended. Also, many authors are not so very interested in the mechanics of the story, or how feasible the science is, but in different dimensions. How might people react in particular circumstances? What are the moral dimensions involved? What aspects of the story resonate most strongly with present-day issues?
The particular problem that Discovery has is simply that it is part of a wider set of series, and we already thought we knew what the future looked like! A particular peril for any of us writing a series of books.
Now it’s not just science fiction that can be left behind by the march of events. Our view of history can, and has, changed as new evidence comes to light. Casual assumptions that one generation makes about past societies, interactions, and chronology may be turned over a few years down the line. Sometimes we look at the ways in which older authors presented things and cringe. Historical fiction books might easily be overtaken by research and deeper understanding, just as much as science fiction. It’s a risk we all face.
Next time – some thoughts about my own science fiction series, Far from the Spaceports, and the particular things in that story that might get left behind. And also, the particular problems of writing about the near-future.
It is no secret, to those who know me well, that I am a sucker for Arthurian legends. I will read them in any form I can get. I requested to review this book based on the title alone, figuring it would be about the Lady of Shalott. I had no idea that it would end up being one of the most utterly unique re-imaginings of the tale that I have ever encountered…
For a story that has almost no dialogue and very few characters beyond an inanimate Mirror and a handful of people with whom the Lady can never fully interact, this book was thoroughly engaging. The language was descriptive and lush without becoming overwrought or melodramatic, the imagery is lovely right from the very first paragraph, and the overall story of the Lady of Shalott is entirely original. I loved it, especially the end. It hit on all of my favourite genres in one, and was just a lovely way of revisiting one of my favourite and often overlooked Arthurian legends.
This also meant that Shadows was short-listed for the DD September book of the month, but there’s a little while yet until the winner is announced.
The second snippet is an interview invite I had had from Fiona McVie. There were a number of rather different questions than ones I had encountered before, and I had a lot of fun completing it. You can find the interview at her blog site. Enjoy…
I’ve been thinking for a little while now about reading and writing, and decided to convert those thoughts into a blog post. I used to reckon that reading and writing were two sides of the same coin. We teach them at broadly the same time, and it seems natural with a child to talk through the physical process of making a letter shape at the same time as learning to recognise it on a page.
But lately, I’ve been reconsidering this. My thinking actually goes back several years to when I was studying ancient Egyptian. It is generally understood that alongside the scribes of Egypt – who had a good command of hieroglyphic and hieratic writing, plus Akkadian cuneiform and a few other written scripts and a whole lot of technical knowledge besides – there was a much ĺarger group of people who could read reasonably well, but not write with fluency or competence. A few particularly common signs, like the cartouche of the current pharaoh, or the major deity names, would be very widely recognised even by people who were generally illiterate. You see this same process happening with tourists today, who start to spot common groups of Egyptian signs long before they could dream of constructing a sentence.
The ability to write is far more than just knowing letter shapes. You need a wide enough vocabulary to select the right word among several choices, to know how to change each word with past or future tense, or number of people, or gender. You need background knowledge of the subject. You need to understand the conventions of the intended audience so as to convey the right meaning. In short, learning to write is more demanding than learning to read (and I’m talking about the production of writing here, not the quality of the finished product).
Roll forward to the modern day, and we are facing a slightly different kind of question. The ability to read is essential to get and thrive in most jobs. Or to access information, buy various goods, or just navigate from place to place. I’m sure it is possible to live in today’s England without being able to read, but it will be difficult, and all sorts of avenues are closed to that person.
But the ability to write – by which I mean to make handwriting – is, I think, much more in doubt. Right now I’m constructing this blog post in my lunch hour on a mobile phone, tapping little illuminated areas of the screen to generate the letters. In a little while I’ll go back to my desk, and enter characters by pressing down little bits of plastic on a keyboard. Chances are I’ll be writing some computer code (in the C# or NodeJS computer languages, if you’re curious) but if I have to send a message to a colleague I’ll use the same mechanical process.
Then again, some of my friends use dictation software to “write” emails and letters, and then do a small amount of corrective work at the end. They tell me that dictation technology has advanced to the stage where only minor fix-ups are needed. And, as most blog readers will know, I’m enthusiastic about Alexa for controlling functionality by voice. Although writing text of any great length is not yet feasible on that platform, my guess is that it won’t be long until this becomes real.
All of this means that while the act of reading will most likely remain crucial for a long time to come, maybe this won’t be true of writing in the conventional sense. Speaking personally, hand-writing is already something I do only for hastily scribbled notes or postcards to older relatives. Or occasionally to sign something. The readability of my hand-writing is substantially lower than it used to be, purely because I don’t exercise it much (and by pure chance I heard several of my work colleagues saying the same thing today). Do I need hand-writing in modern life? Not really, not for anything crucial.
I don’t think it’s just me. On my commuting journeys I see people reading all kinds of things – newspapers, books, magazines, Kindles, phones, tablets and so on. I really cannot remember the last time I saw somebody reading a piece of hand-written material on the tube.
Now, to set against that, I have friends and relatives for whom the act of writing is still important. They would say that the nature of the writing surface and the writing implement – pencil, biro, fountain pen – are important ingredients, and that bodily engagement with the process conveys something extra than simply the production of letters. Emphasis and emotion are easier to impart – they say – when you are personally fashioning the outcome. To me, this seems simply a temporary problem of the tools we are using, but we shall see.
Looking ahead, I cannot imagine a time when reading skills won’t be necessary – there are far too many situations where you have to pore over things in detail, review what was written a few chapters back, compare one thing against another, or just enjoy the artistry with which the text had been put together. Just to recognise which letter to tap or click requires that I be able to read. But hand-writing? I’m not at all sure this will survive much longer.
Perhaps a time will come when teaching institutions will not consider it worth while investing long periods of time in getting children’s hand-writing to an acceptable standard – after all, pieces of quality writing can be generated by several other means.
Today’s blog is primarily about the latest addition to book readings generated using Amazon’s Polly text-to-speech software, but before getting to that it’s worth saying goodbye to the Cassini space probe. This was launched nearly twenty years ago, has been orbiting Saturn and its moons since 2004, and is now almost out of fuel. By the end of the week, following a deliberate course change to avoid polluting any of the moons, Cassini will impact Saturn and break up in the atmosphere there.
So, Half Sick of Shadows and Polly. Readers of this blog, or the Before the Second Sleep blog (first post and second post) will know that I have been using Amazon’s Polly technology to generate book readings. The previous set were for the science fiction book Timing, Far from the Spaceports 2. Today it is the turn of Half Sick of Shadows.
Without further ado, and before getting to some technical stuff, here is the result. It’s a short extract from late on in the book, and I selected it specifically because there are several speakers.
OK. Polly is a variation of the text-to-speech capability seen in Amazon Alexa, but with a couple of differences. First, it is geared purely to voice output, rather than the mix of input and output needed for Alexa to work.
Secondly, Polly allows a range of gender, voice and language, not just the fixed voice of Alexa. The original intention was to provide multi-language support in various computer or mobile apps, but it suits me very well for representing narrative and dialogue. For this particular reading I have used four different voices.
If you want to set up your own experiment, you can go to this link and start to play. You’ll need to set up some login credentials to get there, but you can extend your regular Amazon ones to do this. This demo page allows you to select which voice you want and enter any desired text. You can even download the result if you want.
But the real magic starts when you select the SSML tab, and enter more complex examples. SSML is an industry standard way of describing speech, and covers a whole wealth of variations. You can add what are effectively stage directions with it – pauses of different lengths, directions about parts of speech, emphasis, and (if necessary) a phonetic letter by letter description. You can speed up or slow down the reading, and raise or lower the pitch. Finally, and even more usefully for my purposes, you can select the spoken language as well as the language of the speaker. So you can have an Italian speaker pronouncing an English sentence, or vice versa. Since all my books are written in English, that means I can considerably extend the range of speakers. Some combinations don’t work very well, so you have to test what you have specified, but that’s fair enough.
If you’re comfortable with the coding effort required, you can call the Polly libraries with all the necessary settings and generate a whole lot of text all at once, rather than piecemeal. Back when I put together the Timing extracts, I wrote a program which was configurable enough that now I just have to specify the text concerned, plus the selection of voices and other sundry details. It still takes a little while to select the right passage and get everything organised, but it’s a lot easier than starting from scratch every time. Before too much longer, there’ll be dialogue extracts from Far from the Spaceports as well!
Forty years ago, the Voyager probes 1 and 2 were launched. I remember it happening, along with the feelings of pride and excitement that mankind had been able to construct and launch such things. It was less than a decade from the first moon landing, and it felt as though space was progressively, and quite rapidly, opening up to us all. Those were optimistic days.
The launch time was chosen very carefully, so as to take advantage of a rare planetary line-up to gain acceleration as they passed each of several planets over the years. This manoeuvre has come to be known as slingshot, and is used extensively in films and books as well as for real. Anyway, this series of relatively close passes also meant that we were treated, at increasing intervals, to images of planets with details which at the time had never been seen. These remote places, mere points of light to the naked eye, suddenly became real places, and we saw how familiar things like weather patterns, volcanoes, and water appeared throughout our solar system.
The two probes are still travelling outwards, still gathering new information, and still sending signals back to Earth. These signals now take 16 hours for Voyager 2, and nearly 20 hours for Voyager 1, and are fantastically weak compared to the strength at take-off. One of the many scientific spinoffs has been the development of ever more accurate equipment to listen to these distant voices. But the lifetime of the battery power is finite. From 2020 onwards, the scientific instruments will be turned off one by one to prolong the on-board power, and after 2025 none will be operational. From then on, the spacecraft will simply continue on as complicated pieces of metal. Their current velocity will be broadly the same, as there is hardly any gravitational drag.
Since 2013, Voyager 1 has officially been classed as travelling through interstellar space, as opposed to the volume of space directly linked to our sun. You could liken this to the atmosphere which surrounds a planet, attenuating in stages to interplanetary space – and indeed the region is now called the heliosphere. The very fact that such a boundary region exists was not recognised before Voyager 1’s instrument data was analysed. Our present understanding is that in this zone, the constant stream of particles pouring outwards from our sun – the solar wind – ceases to have a clear direction of flow and becomes turbulent. You could liken it to air flow around the speed of sound, but the density of particles is so thin that there is no hazard to navigation! In this region, Voyager 1 is encountering as many particles from other stars as it does from ours – the boundary zone acts as a buffer shielding our entire solar system from too much stuff passing casually in.
Voyager 2, though launched first, has taken a slightly different trajectory, and is now a few years behind Voyager 1. Currently it is still in the heliopause – the boundary zone – and will emerge in a few years. Both craft will – in around 300 years or so – begin to traverse a region called the Oort Cloud. This is a vague and fuzzy shell largely inhabited by comets and similar celestial debris, which occasionally get disturbed enough to drop down to the inner system and make themselves known. It is possible that one of the Voyagers will get close enough to interact with one of these objects, but hugely unlikely given the sheer volume of space concerned.
Other things being equal, they will come out the other side of the Oort cloud in about 30,000 years… and still the nearest star will be our sun. It will take about 40,000 years, give or take, before they will be nearer another star than our own sun. This last figure highlights just how far it is from one star to the next, compared with the distances from a star to the associated planets. Right now, the closest star to us is Alpha Centauri, but by that time another star will be our nearest neighbour, Gliese 445. But even that won’t be very close – the point of nearest approach is about 1.6 light years.
Both Voyager craft carry “The Golden Record”, looking not unlike an old LP vinyl record, containing a diverse collection of information about us. I remember there being considerable controversy about this as launch time approached back in 1977. There were earnest debates about the content – should Johnny B. Goode be part of our interstellar welcome pack? Was it improper to have pictures of a naked man and woman? But there were also more basic questions. Did we wanted to make our existence known to other possible life forms? Should we include what are effectively navigation instructions telling whoever finds them how to find us? Those who are curious can look up the exact list of what we sent on these golden disks here, and even listen to the audio content here.
For me, the Voyager craft have been a background feature of life from my late teens. For some people, they have been the focus of their entire working lives. And so far, they are the only two objects that we have built which have escaped the gravity well of our sun, and are now at large in the galaxy.
I have been in Cumbria the last few days – England’s Lake District – and have been surrounded by history. Of course there are the hills, first established up to about 500 million years ago and steadily being reshaped by nature’s forces since then. Then there are the various lakes and tarns, mostly the result of glaciation on a timescale of about 11,000 to 100,000 years ago. And of course the various signs of humanity’s use of the landscape, going back a few thousand years.
But also there are specific signs of human activity, and I have been happily looking at some of these. Just outside Ambleside, at the northern end of Windermere, are some rather well displayed remnants of a Roman fort. It’s name is not known with certainty, but the most likely claim is Galava, identified in later Roman records in this vicinity. The earliest fort held a unit of about 200 soldiers, and was upgraded over time to have about 500. As well as barracks and all the usual paraphernalia of a Roman fort, it also boasted a jetty onto the lakeside at which, one presumes, cargo and passengers arrived and departed. From here, roads led off west towards the splendid fort in the Hardknott Pass (which I haven’t yet visited) and also up the eastern side of Ullswater towards Penrith, Carlisle, and Hadrian’s Wall.
But as well as that there are considerably older signs of human habitation, and I have to admit that these excite me rather more than the Roman ones. Back in Neolithic times, there was a stone axe “factory” up amongst the Langdale Pikes. These tower impressively over the Langdale Valley, and are easily identified from many miles away as you approach. If you come as tourist, your first view of them might well be from Windermere railway station, but actually they can be spotted from a few places rather further afield. Axes from Langdale have been found all across Britain and beyond, and were clearly highly prized items in their day.
And as you approach the pikes along the Langdale Valley, on the valley floor just outside a village called Chapel Stile, there is a collection of boulders which are adorned with Neolithic rock art. Like virtually all of such art in Britain, it seems abstract to us, and does not admit of any easy interpretation. It is impossible – when you are there – to think that the people who cut the marks on those rocks were not making a connection with the stone axe site, but the nature of the connection is now unknown. Perhaps they were directions, or messages of welcome, or warnings of how to treat the local deities – but we just don’t know.
It’s an enigma, and a pleasant one to contemplate as you make your own way along the valley… and one day I hope to spin all this lot into a story…